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SPACE

Joan Shelley
with James Elkington

Saturday, Oct 14, 2017 8:00 PM CDT (7:00 PM Doors)
SPACE, Evanston, IL

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GA Limited Seating

$15.00
 - Limit is 10 tickets for this section
Limited seating. Seats not guaranteed.

Table 11

$22.00
 - Limit is 5 tickets for this section
Reserved table seat.

Table 12

$22.00
 - Limit is 5 tickets for this section
Reserved table seat.

Table 14

$22.00
 - Limit is 5 tickets for this section
Reserved table seat.

Table 15

$22.00
 - Limit is 5 tickets for this section
Reserved table seat.

Table 21

$22.00
 - Limit is 4 tickets for this section
Reserved table seat.

Table 22

$22.00
 - Limit is 4 tickets for this section
Reserved table seat.

Table 23

$22.00
 - Limit is 4 tickets for this section
Reserved table seat.

Table 24

$22.00
 - Limit is 4 tickets for this section
Reserved table seat.

Table 25

$22.00
 - Limit is 4 tickets for this section
Reserved table seat.

Table 31

$22.00
 - Limit is 4 tickets for this section
Reserved table seat.

Table 32

$22.00
 - Limit is 4 tickets for this section
Reserved table seat.

Table 33

$22.00
 - Limit is 4 tickets for this section
Reserved table seat.

Table 34

$22.00
 - Limit is 4 tickets for this section
Reserved table seat.

Table 35

$22.00
 - Limit is 4 tickets for this section
Reserved table seat.

Table 41

$22.00
 - Limit is 4 tickets for this section
Reserved table seat.

Table 42

$22.00
 - Limit is 4 tickets for this section
Reserved table seat.

Table 43

$22.00
 - Limit is 4 tickets for this section
Reserved table seat.

Table 44

$22.00
 - Limit is 4 tickets for this section
Reserved table seat.
Total limit is 10 tickets for all sections combined

Delivery Type:

UPS 2nd Day $14.50 -  No P.O. Boxes, U.S. addresses only.
Please allow 2-3 business days for UPS 2nd Day delivery.
Mail $2.50 -  Please allow 10 days for Mail delivery.
Will Call Check in electronically at venue box office.

Terms and Conditions:

**Please note fees include Evanston and Cook County amusement tax.** We want to make sure that all patrons know what to expect when attending events at SPACE. Please note that not all tickets guarantee seats. Seating varies show by show, so please pay attention to the description of the seating level that you select. A "Reserved Table Seat" guarantees one seat at a cabaret table. Every individual in your party needs a ticket in that section in order to sit at your table. Table seats are held until one hour after the start time of the show. Reserved Table Seats and any will-call tickets are non transferable - the name of the person ordering must match the name of the person picking up the tickets. A “GA Limited Seating” ticket guarantees access to the concert, but does not guarantee a seat. Seating is available on a limited, first-come, first-served basis. If seating is absolutely necessary to you, please purchase a Reserved Table Seat. For certain shows, we will have a "GA Seated" section, which guarantees a chair, but no table. Seats for this section are guaranteed until showtime. A “GA Dance Floor” or “Standing Room” ticket is just that. There is absolutely no seating in either of these sections. Please do not purchase a ticket in these sections if you will be unable to stand for the duration of the show. Doors for concerts open one hour before the start time of the show. SPACE reserves the right to change the start time, or to add performers to a lineup. Ticket buyers will be emailed with any major changes. No outside food or drinks are permitted. Pizzas from Union Pizzeria can be brought into the concert. SPACE has a full bar and cocktail service during shows. Flash photography is not permitted in SPACE. This is a listening room, and it is important to us that performers are able to be heard. Patrons talking during quiet shows may be asked to step outside so others can enjoy the show. SPACE is an all-ages venue, but patrons must be 21 to drink alcoholic beverages. No refunds will be given under any circumstances. By continuing with this purchase, you acknowledge that you have read and understood the terms and conditions stated above.

 I understand and accept these terms.

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Additional Information

The stunning, self-titled fourth album from the Kentucky singer, songwriter, and guitarist Joan Shelley began, surprisingly, with a fiddle. 

In the summer of 2014, Shelley fell for “Hog of the Forsaken,” a bowed rollick at the end of Michael Hurley’s wayward folk circus, Long Journey, then nearly forty years old. Hurley’s voice, it seemed to Shelley, clung to the fiddle’s melody, dipping where it dipped and climbing where it climbed. This was a small, significant revelation, prompting the guitarist to trade temporarily six strings for four and, as she puts it, “try to play like Michael.” That is, she wanted to sing what she played, to play what she sang. She tried it, for a spell, with the fiddle. 

“Turns out, I wasn’t very good at fiddle,” remembers Shelley, chuckling. “But I took that idea back to the guitar and tried that same method. I did it as a game to make these songs, a way to find another access point.”

But that wasn’t the end of the trials. After collaborating and touring with ace guitarist Nathan Salsburg for so many years, Shelley decided to put her entire guitar approach to the test, too. Each day, she would twist and turn into a different tuning, letting her fingers fumble along the strings until the start of a tune began to emerge. After playing the songs of her phenomenal third album, the acclaimed Over and Even, so many nights during so many shows, the trick pushed her hands out of her habits and into a short, productive span that yielded most of Joan Shelley. 

It’s fitting that the set is self-titled. These are, after all, Shelley’s most assured and complete thoughts to date, with lyrics as subtle and sensitive as her peerless voice and a band that offers support through restraint and nuance. In eleven songs, this is the sound of Joan Shelley emerging as one of music’s most expressive emotional syndicates.

To get there, Shelley had a little more help than usual. In December 2016, she headed a few hours north to Chicago, where she and Salsburg joined Jeff Tweedy in Wilco’s Loft studio for five days. Spencer Tweedy, home from college, joined on drums, while James Elkington (a collaborator to both Tweedy and Salsburg) shifted between piano and resonator guitar. Jeff added electric accents and some bass, but mostly, he helped the band stay out of its own way. “He was protecting the songs. He was stopping us before we went too far.” she says.

Drawing from British folk, avant-rock, and jazz traditions alike, Wintres Woma-- Old English for "the sound of winter"-- is James Elkington's debut solo record, but you've likely heard his masterful guitar playing and arranging, even if you didn't realize it. Elkington (an Englishman living in Chicago) is an inveterate collaborator who brings his lyrical compositional and improvisational sensibilities to any group. He has toured, recorded, and/or collaborated with Jeff Tweedy, Richard Thompson, Steve Gunn, Michael Chapman, Joan Shelley, Nathan Salsburg and Brokeback, to name just a few of his many enthusiastic admirers. His assured album, recorded at Wilco's Loft, is baroquely detailed and beautifully constructed, featuring both his baritone vocals and some of Chicago's finest, including Tomeka Reid. 

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